2019年1月26日 星期六

Christian Norberg-Schulz(1926—2000) :Meaning in western architecture 1980 西方建築的意義



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Christian Norberg-Schulz

(1926—2000)

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(1926–2000).
Norwegian architect, theorist, and historian. Influenced by Giedion, Gropius, and Mies van der Rohe, he was a convinced Modernist, believing that it was the only valid currency of C20, so his contribution to the history of Baroque and Rococo architecture and his concerns with the genius loci are all the more remarkable. In 1952, under Giedion's influence, he founded (with Korsmo, Fehn, and others) PAGON (Progressive Architects Group Oslo Norway) in order to provide an independent Norwegian delegation to CIAM, and, with Korsmo, designed three glass-and-steel houses (1953–5) on a hill near Oslo, in which the rigid grid and the architectural treatment were clearly influenced by the work of Eames and Mies van der Rohe. He edited (1963–78) the architectural journal Byggekunst, and (also in the 1960s) began his long career teaching at Oslo School of Architecture following the publication of his influential Intentions in Architecture (1963), a book in which he investigated the theory of organization of space and built form, and emphasized the importance of visual perception, influenced by Gestalt psychology and by the works of Paul Frankl (1879–1962), August Schmarsow (1853–1936), and Heinrich Wölfflin (1864–1945). He developed a method of phenomenological analysis of cities which he described in Genius Loci(1979 and 1980). Curiously, in Norberg-Schulz's Modern Norwegian Architecture (1986) and in numerous papers, he wrote about the architecture of his native land, emphasizing the values of traditional construction, the use of local materials, and the virtues of vernacular architecture, which would seem to be at odds with his espousal of CIAM and the Modern Movement cult. Influenced by Jencks's The Language of Post-Modern Architecture (1977), Norberg-Schulz embraced ‘PoMo’ with some enthusiasm, perceiving in it new possibilities for expression, but in the 1990s, stung by his growing isolation, he pronounced that PoMo had ‘dissolved into superficial playfulness’, and he returned to a major study of the theoretical bases of Modernism in his Principles of Modern Architecture, published just before his death.
Norberg-Schulz (1963, 1968, 1971, 1980, 1980a, 1982, 1985, 1986, 1986a, 1986b, 1986c, 1988, 1990, 1993, 1996, 1997, 2000, 2000a);Norberg-Schulz & Postiglione (1997)
Subjects: Art & Architecture
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Reference entries
http://www.oxfordreference.com/view/10.1093/oi/authority.20110803100238292



西方建築的意義  北京:中國建築工業出版社,2005

Meaning in western architecture

Rizzoli, 1980 - Architecture - 236 pages

Surveys the ways in which man has symbolized his search for order in his environment through architecture in such cultures as ancient Egypt and modern America




About the author (1980)

Norberg-Schulz took a degree in architecture at the Zurich Polytechnic in 1949. He studied the history of architecture at Harvard University and in Rome (history of architecture and technology of construction with Pier Luigi Nervi), becoming a professor in 1964. He participated in the Norwegian CIAM group in 1950; other members included Sverre Fehn and Jorn Utzon. Beginning 1966 he was a professor of architecture in the Department of Architecture at Oslo. He was awarded a degree ad honorem at Hanover in 1978, and the Gold Medal of the French Academy of Architecture.




Christian Norberg-Schulz (23 May 1926– 28 March 2000) was a Norwegian architect, author, educator and architectural theorist. Norberg-Schulz was part of the ...


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